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Sep 0 12010 M.S HaHa and Aha! Creativity, Idea Generation, Improvisational Humor, and Product Design by MASSACHUSETTS INSTITUTE OF TECHNOLOGY Barry Matthew Kudrowitz SEP 0 12010 M.S. Mechanical Engineering MIT, 2006 LIBRARIES S.B Mechanical Engineering ARCHIVES University of Central Florida, 2004 Submitted to the Department of Mechanical Engineering on May 19, 2010 in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Mechanical Engineering at the Massachusetts Institute of Technology JUNE 2010 02010 Barry Matthew Kudrowitz. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicity paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author Barry Matthew Kudrowitz Department of Mecha'cal En eering ay 1 r2TD Certified by 6 Ualc Dv allace Professor of Mechanical Engineering 'Tfesis Supervisor Accepted by David E. Hardt Professor of Mechanical Engineering Graduate Chair HaHa and Aha! Creativity, Idea Generation, Improvisational Humor, and Product Design by Barry Matthew Kudrowitz Submitted to the Department of Mechanical Engineering on May 19, 2010 in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Mechanical Engineering Abstract It is widely recognized that innovation and creativity is the new competitive battleground for product development firms. Engineers and product designers are now expected to be highly creative, prolific idea generators in addition to being analytically competent. Thus, it is of interest to study methods to improve a designer's idea generation capabilities. It is believed that wit, being spontaneous humor production, is strongly related to creativity as both involve making non- obvious connections between seemingly unrelated things. This thesis looks into the realm of humor and improvisational comedy to suggest means of enhancing creative output in blue-sky product design idea generation. We have found that the ability to quickly generate many ideas is strongly correlated (r2=.82) with being able to come up with a single, promising, creative idea. It was also found that, with appropriate training, individuals may learn to become more prolific idea generators. Furthermore, improvisational comedians were more proficient at new product idea generation than professional product designers, and methods for training comedians can be effectively adapted to product design idea generation. In a study where 84 participants (students, professional designers and improvisational comedians) took a cartoon caption humor test and a nominal product brainstorming test, we found that improvisational comedians on average produced 20% more product ideas and 25% more creative product ideas than professional product designers. Furthermore, the few individuals that were highly prolific in both creative product ideation and humorous cartoon caption production had an improvisational comedy background. Many of the games used in improvisational comedy training are intended to promote associative thinking. We designed an improvisational comedy workshop composed of these association-based games. A group of 11 subjects who participated in this workshop increased their idea output on average by 37% in a subsequent product brainstorming session. Our findings suggest that improvisational comedy games are a useful warm-up for idea generation, that prolific generation is not a domain-specific ability and that it is possible to teach creativity. Ultimately, this work can lead to the development of tools and methods that designers can use to improve their idea generation skills. Thesis Supervisor: David Wallace Title: Professor of Mechanical Engineering 4 Acknowledgements David Wallace for his years of advice and inspiration Maria Yang, Woodie Flowers, Nicola Senin from the University of Parma and Doris Bergen at Miami University for supporting and advising this research My family (especially my grandfather Harry for his sense of humor) Monica Rush for supporting my research, teaching and extracurricular activities Tony Yu, Sungyon Lee, Steve Peters, Teresa Peters, Mika Tomczak, Brenden Epps and the rest of my Lopez Family Ethan Crumlin for joining in improv classes Leslie Regan, Maureen Lynch, Chevalley Duhart The MIT Toy Lab, the MIT CAD Lab and the MIT Ideation Lab... specifically those graduate students whom helped with my research and the toy design course in the last few years: Ming Leong, Ben Pope, James Penn, Sangmok Han, Sungmin Kim, Sarah Reed, Amy Banzaert, Justin Lai, Jesse Austin-Breneman, and Geoff Tsai Industry Support from Leif Askeland, Harry Sleeper, Juhan Sonin, Will Luera, Sarah Reynolds, Bill Gajda, Kevin Dakan, Amanda Bligh, AndrewJeas and Jennifer Hollman ImprovBoston and MIT's Roadkill Buffet for participating in this study and providing introductory improvisational theatre classes Geke Ludden, Rick Schifferstein, Paul Hekkert and the TU Delft ID StudioLab for sparking this research The students from MIT classes 2.00b Toy Product Design, 2.009 Product Engineering Processes, and 2.79 Design-a-palooza Ben Peters, Elizabeth Page, Kevin Rustagi, Mel Chua, Hannah Pelton, Sadie Scheffer, Andrew Carvey, Conor Lenahan, and Darthur Petron for assisting with the development of the study 6 Chapters 1. Introduction...................................................................................................................................13 2. Prior A rt ........................................................................................................................................ 15 2.1 W it: The Connection between H umor and Creativity....................................................................... 15 2.1.1 Making Non-Obvious Connections Between Seemingly Unrelated Things ....................... 16 2.1.2 Prior H um or and Creativity Correlation Studies ................................................................. 16 2.2 Innovation, Invention and Creativity ............................................................................................. 17 2.2.1 Classifications of N ovelty and Innovation............................................................................. 18 2.2.2 Special Classes of Innovation ................................................................................................... 19 2.2.2.1 Aesthetic Innovation ..................................................................................................... 19 2.2.2.2 Novelty Items and G adgets ............................................................................................ 19 2.2.2.3 Chindogu and "Unuseless" ............................................................................................ 20 2.3 Creativity in the ProductD esign Process ........................................................................................... 20 2.3.1 Idea G eneration M ethods ........................................................................................................ 21 2.3.2 Play in Idea G eneration ........................................................................................................... 22 2.3.3 A ssociation M aking in Idea G eneration ............................................................................. 23 2.3.4 Brainstorm ing .......................................................................................................................... 24 2.3.5 N om inal Brainstorm ing ........................................................................................................... 25 2.4 M easuring CreativeAbilities ............................................................................................................... 26 2.4.1 Creativity Tests ........................................................................................................................ 26 2.4.1.1 Remote Associates Test (RAT) - 1962 .......................................................................... 26 2.4.1.2 The Torrance Test of Creative Thinking (TTCT) - 1966............................................. 27 2.4.1.3 Guilford's Structure of Intellect (SOI) - 1956............................................................... 28 2.4.2 Product Rating Tests ............................................................................................................... 28 2.4.2.1 The Criteria Problem : What constitutes a creative product?........ .......... .................... 29 2.4.2.2 Quantity of Ideas............................................................................................................... 30 2.4.2.3 The Judging of Product Creativity ................................................................................. 32 2.5 H umor ................................................................................................................................................ 33 2.5.1 Theories of H um or .................................................................................................................. 34 2.5.2 The Incongruity Theory of H um or...................................................................................... 35 2.5.3 N onsense H um or ..................................................................................................................... 36 2.5.4 Im provisational Com edy..........................................................................................................37 2.6 M easuringH umor and W it ................................................................................................................
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